Thirty or so minutes into Angela Schanelec’s Music, a character makes a startling discovery. We’re inside a prison on the outskirts of an unidentified Greek to...
“Did you know that we keep on hearing after we’re dead?” The question comes up early into Lois Patiño’s Samsara but haunts the film from first shot to last, do...
Watching over Beijing’s Xicheng district is an enormous white pagoda, a relic of the Kublai Khan rule, so majestic and otherworldly in looks and stature it mig...
The only exterior shot Playland shows of the iconic Boston gay dive that lends the film its name is a black-and-white photograph slotted seconds before the end...
If a film could immortalize our screen-infested age, what would it look like? Restlessly playful and joyfully cacophonous, YuHan Teng’s Gagaland offers an eloq...
The Blue Jean of David Bowie’s 1984 hit was a girl with “a camouflage face,” not unlike the singer and the two personas he splintered into for the song’s video...
Nothing catches fire in Valentina Maurel’s I Have Electric Dreams, but the atmosphere is so inflammable, the air so taut, everything could ignite at any moment...
The few people bobbing up in Ana Vaz’s It Is Night in America are anonymous ciphers, their faces scarcely (if at all) visible, protruding limbs or silhouettes ...
In the heat of late summer, San Michele al Tagliamento is a humid emulsion of corn fields, cypress trees, and silent streets. Sitting along the border between ...
Early into Helena Wittmann’s 2017 feature debut, Drift, a character recounts a Papua New Guinean tale of the world’s creation. Back when the planet was all wat...
An Italian-born, UK-raised film critic, Leonardo Goi is an alumnus of the Locarno Critics Academy and Berlinale Talents, where he coordinates the Talent Press. Along with The Film Stage, he writes for MUBI, Senses of Cinema, and Kinoscope. For reviews and reports from the festival circuit, follow him on Twitter at @LeonardoGoi.
